Three films by Nathaniel Dorsky screened in London earlier today: Hours for Jerome I & II (1966-70/1982), Compline (2009) and Aubade (2010), three of the most beautiful films I have ever seen. Dorsky is understandably reluctant to distribute his work on anything other than 16mm, yet part of me wishes he would relent. These are images I'd like to screen every night to remind me why there might be a point to the next day's business of living; how to look in order to live. The prints were pristine, the colour and tone of the images overwhelming. Memory is resistant already, and once will have to do.